I like Doug Wright's work, but I feel closer to it than I would because a) I like the awards named after him and b) he reminds me powerfully of Seth, who I have grown to really treasure as one of the great North American cartoonists over the last 5 years or so.
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Replying to @dustinharbin
Artists create their ancestors. We see Wright though Seth, Frank King through Chris Ware, Harold Gray through Chester Brown, Dan De Carlo through Jaime Hernandez.
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Replying to @HeerJeet @dustinharbin
We see Harold Gray in Chester Brown (esp. in Riel) because it's an explicit, unmistakeable reference. How is that 'creating an ancestor'?
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Replying to @DominoComics @HeerJeet
Because that reference, and the exposure and contextualization to new audiences, makes them a sort of curator of that artist's work. Especially Seth and Doug Wright, to American audiences.
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Replying to @dustinharbin @HeerJeet
Is it Brown's intention to clue people in about Gray? Gray is much more universal than Brown, plus Brown's intentions are more complex than pastiche curator. Seth, not so much, of course.
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Replying to @DominoComics @dustinharbin
New works in a tradition change how we view/interpret older works. See Jorge Luis Borges' essay "Kafka & His Precursors."
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Maybe in terms more congenial to you: Clowes has changed how we read Mort Weisinger Superman comics.
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Replying to @HeerJeet @dustinharbin
Im kidding, i love Borges. But i dont think clowes changes my experience of weisinger, it's the reverse. But that's just me
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